Substance Abuse Overproof CD

Overproof Music

List Price	$15.97 (You save $3.72)
Category	Rock/Pop Albums, R&B CDs, Rap, Urban Soundtrack
Label	Threshold Music
Orig Year	2006
All Time Sales Rank	148447
CD Universe Part number	7065138
Discs	1
Release Date	Apr 25, 2006
Studio/Live	Studio
Mono/Stereo	Stereo

Substance Abuse Overproof Songs

	1.	Fake Contacts
	2.	Night on Town - (with Kool Keith)
	3.	Porfitless Thoughts - (with MF Doom)
	4.	Mercy Killings
	5.	No Guarantees
	6.	Myka Nyne Interlude
	7.	Everyone's a Critic - (with Rasco)
	8.	Graduate, The
	9.	Sickness, The
	10.	Check - (with Motion Man)
	11.	Withdrawals Pt. 2
	12.	Can't Call It
	13.	I Don't Mean to Talk Shit
	14.	Collateral Damage
	15.	Fractured Form
	16.	Sickness - (remix, with Saafir)

Overproof Review

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Galt Macdermot Woman Is Sweeter/Shapes Of Rhythm CD (1969)

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Galt MacDermot's affair with funk did not begin and end with HAIR. With this CD, we present two examples of LPs MacDermot released independently on his Kilmarnock label: Shapes of Rhythm and Woman Is Sweeter."Shapes of Rhythm" features not only MacDermot on piano and vocals, but three of the most skillful men working in New York at the time (1966), the "Mid-Manhattan Rhythm Section" consisting of Bernard "Pretty" Purdie on drums, Jimmy Lewis on fender bass and "Snag" Napoleon Allen on rhythm guitar. The CD contains the mesmerizing and powerfully morose melody, "Coffee Cold.""Woman Is Sweeter" perhaps best represents MacDermot's take on funk music. Recorded in 1969, this soundtrack does not linger in one tempo, nor does it stagnate in a single mood. As dynamic as the musicians behind its creation (the LP contains drumming by both funk masters Muhammad and Bernard Purdie), Woman Is Sweeter has come to be known best for the minute-and-fifty-one-second ballad "Space," sampled for Busta Rhyme's breakthrough "Woo-Haa! Got You All In Check." :
2 LPs on 1 CD: WOMAN IS SWEETER (1969)/SHAPES OF RHYTHM (1966).
Personell includes: Galt MacDermot (piano, Fender Rhodes piano, Clavinet); Idris Muhammad, Bernard Purdie (drums); Jimmy Lewis.
Remember the musical Hair? Remember the groovy rhythm tracks on "Let the Sunshine In" and "Where Do I Go?" Yeah, well, this guy here, Galt MacDermot, expatriate Canadian funk meister, is the cat who composed those jams -- and in fact the music to the entire play. This CD brings together two of MacDermot's original LPs, both of them released in the '60s -- one pre- and one post-Hair, one a session album and one a soundtrack, and both greasy in the future funk with cats like Idris Muhammad and Bernard Purdie laying down the beats behind the band. MacDermot is a driven pianist and organ grinder who sought one thing on these records: funky grooves. And he got them. Here's what's scary though: "Coffee Cold" (from Shapes of Rhythm) was recorded in 1966 -- prefiguring the rhythmic changes of James Brown's "Cold Sweat" in sequence and in key a full two years before Brown laid down his track. The feel of "Coffee Cold" is a bit whiter and smoother, but the jam is still an anthem, even with its cheese factor. MacDermot was a prophet of the groove that would overtake the late '60s and early '70s, and, were he a proud man, could have argued that more young musicians heard and took to heart the grooves he laid down in Hair than heard Allen Toussaint and Red Allen or Eddie Bo. The true feel of Shapes of Rhythm is like Vince Guaraldi's Schroeder laying out the piano funk, seeking the groove inside the rhythm section and laying it out there. It's tough if ornate and it shimmers with real heat. The other disc, a soundtrack for Martine Barrat's movie Woman Is Sweeter, is a much dirtier, rawer affair altogether, and would have been worth the price of the CD alone. Here guitars chunk up in the cut with the bass, and the piano floats in the accents as drums and bass reign supreme. This was recorded immediately after Hair, and MacDermot wasn't in the mood to simply lay out some incidental music to a hippie flick. He took it down to its essence: rhythm, ...

Master P Good Side/Bad Side CD (2004) (Import) Bonus Track; Japan

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Personnel includes: Master P, Silkk The Shocker, Lil' Romeo, Three 6 Mafia, C-Murder, B.G., Cash Money, Eightball, Bone Crusher, T.K., David Banner, Lil' Flip, Field Mob, Ludacris, UGK, Mystikal.
Producers include: Lil Jon, Myke Diesel, DJ Darryl, Full Pack, Serious.
Japanese edition contains one bonus recording.
Master P returned after three years with Good Side, Bad Side, a double disc that's rowdy, fun, and annoyingly uneven with a concept that's unnecessary. The cover art and the individual disc titles ("Good Side" for disc one, "Bad Side" for disc two) point to the flimsy concept. What's confusing is why P's "Good Side" is the usual cheap funk with bragging while his "Bad Side" is flashy R&B with hooks and slick production (is this "Bad" in the '70s sense?). Good Side, Bad Side's run time is only a couple minutes over a CD's capacity, so with filler to choose from it could have been easily trimmed to fit. A good choice would be the opening "Act a Fool," another "No Limit's Back!" swagger of a track that gives a dull first impression of an album that gets much better. It's also the first taste of P's new partnership with the King of Crunk and fellow Southerner Lil Jon. The alliance comes off much better on "Who Them Boyz," a great call-and-response anthem that features a C-Murder rap straight from his jailhouse phone. The dark "Why They Wanna Wish Death," the party anthem "Them Jeans," and "You Don't Know Me" with producer DJ Darryl's sticky funk are other highlights from the "Good Side," but the album's standout moment is "It's a Drought," a spirited narrative about a dope shortage in the hood. While more fun at first, a bunch of thin ideas makes the "Bad Side" the weaker disc on repeat listens, but a couple grand moments do turn up. "Com. 4" is another great weed-shortage song, this time due to a bogarting houseguest and set to a country hoedown beat. "Thug and Get Paper" is P at his minimal and lowdown best, and both "Tell 'Em" and "That Ain't Nothing" are mixtape worthy. The rest of the tracks on the "Bad Side" feel unfinished, like they're demos awaiting R. Kelly's final touchups to ensure radio exposure (there's never been so much Spanish guitar on a No Limit release). Hungry over inspired and anxious over ambitious, this is a placeholder of an album, giving P some face time while he awaits the crunk of the South and the gloss on urban radio to pass. Whittle away some of his half-hearted attempts to be of-the-moment, take away the concept and double-disc grandeur, and you've got a solid No Limit release. ~ David Jeffries
In the late 1990s, Percy Miller built a tremendous empire with his No Limit label, featuring a slew of hardcore rap artists, including himself--the incomparable, growl-voiced Master P. No Limit never really went away, but nevertheless Miller decided to revamp it in 2004, and who better to christen the revival than his own alter ego? Christen it Master P does, in a style befitting the brash overstatement of the label known for its instantly recognizable covers featuring tanks and medallions, pastel-colored sleeves, and titles airbrushed in platinum. P's opening salvo is a double concept ...